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———. 1988b. “Can the Subaltern Speak?” In Cary Nelson and Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. Urbana: University of Illinois Press, 271–313. Stirling, Grant. 1995. “Re-reading the Function of Language Variance in Post-colonial Literary Theory.” Canadian Review of Comparative Literature (Sept./Dec.): 411–429. Sun Jianmin. 孙健敏 . 2002. “Jingyan shijie zhong de yingxiang xuanze: Jia Zhangke fangtanlu” 经验世界中的影像选择 - 贾樟柯访谈录 (Image choice in the experimental world: an interview with Jia Zhangke). Jinri xianfeng, Vol. 12 (March): 18–33. Teo, Stephen. 2001. “Cinema with an Accent—Interview with Jia Zhangke, Director of Platform.” Senses of Cinema 15 (July–Aug.). Url= http://www. sensesofcinema.com/contents/01/15/zhangke_interview.html ———. 2003. “There Is No Sixth Generation: Director Li Yang on Blind Shaft and His Place in Chinese Cinema.” Senses of Cinema 27 (July–Aug.). Url= http://www.sensesofcinema.com/contents/03/27/li_yang.html Van Crevel, Maghiel. 2006. “The Intellectual vs. the Popular: A Polemic in Chinese Poetry.” In Raoul Findeisen, Bernhard Führer, and Maghiel van Crevel, eds., Chinese Texts, People and Procedures. Wiesbaden: Harassowitz (forthcoming). Wang Zhuoyi 王卓异 . 2005. “Zai Karaoke zhong shenghuo” 在卡拉 OK 中生活 (Random thoughts on the film Xiao Wu). Posted on Wang’s blog on Jan. 30, 2005. Url=http://www.blogcn.com/user27/diddikai/index.html Wu Wenguang 吴文光 . 2000. “Fangwen Xiao Wu daoyan Jia Zhangke” 访问《小武》导演贾樟柯 (Interview with Xiao Wu director Jia Zhangke). In Wu ed., Xianchang 现场 (Document). Tianjin: Tianjin shehui kexueyuan, vol. 1: 184–212. Yeh, Yueh-yu. 2002. “Historiography and Sinification: Music in Chinese Cinema of the 1930s.” Cinema Journal 41, no. 3 (Spring): 78–97. Yu Aiyuan 鱼爱源 . 2004. “Kanbujian de Zhongguo dianying” 看不见的中国电影 (The invisible Chinese films). Shanghai wenxue 1: 89–94. Zhang Xiaobei 张小北 . 2004. “Dixia dianying paishe zhinan” 地下电影拍摄 204 • The Rhetoric of Local Languages MCLC 18.2.indd 204 12/20/06 2:01:41 PM
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Page 1 and 2: The Rhetoric of Local Languages as
Page 3 and 4: languages provide unexpected, unpre
Page 5 and 6: living in small towns. Integral to
Page 7 and 8: unintelligible even to a Shanxi aud
Page 9 and 10: According to Wang, “the microphon
Page 11 and 12: Figure 5: Xiao Wu (played by Wang H
Page 13 and 14: with the diegetic silence of the pr
Page 15 and 16: Figure 7: The pair Zhang Jun (playe
Page 17 and 18: If linguistic unity can be achieved
Page 19 and 20: that the protagonists’ hybridized
Page 21 and 22: native Taiyuan Mandarin even though
Page 23 and 24: Figure 11: Xiao Ji watches news cov
Page 25 and 26: Figure 13: Qiao Qiao demonstrates t
Page 27 and 28: Figure 14: The closing scene in Pla
Page 29 and 30: Here, subaltern theory may be helpf
Page 31 and 32: to professional formulas. Zhu Wen,
Page 33 and 34: script suggest that the story is se
Page 35 and 36: Wang Guangli’s Heng shu heng (Go
Page 37 and 38: Haixian 海鲜 (Seafood). Dir. Zhu
Page 39 and 40: Dai, Jinhua. 2002. “A Scene in th
Page 41: Lee, Kevin. 2003. “Jia Zhangke.
Page 45 and 46: MCLC 18.2.indd 207 12/20/06 2:01:42

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